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Friday, 1 January 2016

The Neustadt International Prize for
Literature is a biennial award sponsored by the University of Oklahoma and
World Literature Today.

The Prize consists of $50,000, a replica of
an eagle feather cast in silver, and a certificate. A generous endowment from
the Neustadt family of Ardmore, Oklahoma, and Dallas, Texas, ensures the award
in perpetuity.

The prize was established in 1969 as the
Books Abroad International Prize for Literature, then renamed the Books Abroad
/ Neustadt Prize before assuming its present name in 1976, The Neustadt
International Prize for Literature. It is the first international literary
award of this scope to originate in the United States and is one of the very
few international prizes for which poets, novelists, and playwrights are
equally eligible.

Previous Laureates of the Neustadt
International Prize for Literature include Gabriel García Márquez, Octavio Paz,
Rohinton Mistry and in 2000 David Malouf became the sixteenth Neustadt Laureat.
This year the winner was Dubravka Ugrešić, born in the former Yugoslavia and
now residing in Amsterdam, I aim to get to a few of her works in 2016, once I
read and digest the wonderful “Music & Literature No. 6” where there are
100 pages of literary criticism, “A Story about How Stories Come to Be Written”
(translated by David Willliams), seven prints by Dubravka Ugrešić and a listing
of her complete works. This “Music & Literature” edition also includes
Alejandra Pizarnik and Victoria Polevá, an edition I’ll eventually get around
to reading.

In becoming the sixteenth Neustadt Laureat
David Malouf beat a field including V.S. Naipaul, Augusto Monterroso, and N. Scott
Momaday. Previously shortlisted for the Booker Prize in 1993 for “Remembering
Babylon” where nominating juror Ihab Hassan said “And right there I saw a
glimmer of his gift: wakefulness and precision of feeling, blended in wonder,
and a delicacy that can surprise the mystery of creation itself. It was this
elusive quality, inward with his poetic sensibility, a quality akin to love,
that first drew me to the work of David Malouf” (“Encomium: David Malouf,” World
Literature Today Vol. 74, Autumn 2000). He has wont eh Commonwealth Writers’
Prize and the French Priz Femina Etranger for his 1990 work “The Great World” and
would be also known for his novels “An Imaginary Life” (1978), “Fly Away Peter”
(1982), and “Ransom” (2009). Lesser known, or less publicized works include his
poetry collections, “Neighbors in a Thicket” (1974), “Wild Lemons” (1980), and “Typewriter
Music” (2007).

It is his latest poetry collection that I
look at today, shortlisted for the 2015 Prime Minister’s Literary Award for
poetry, “Earth Hour”.

Our collection opens with ‘Aquarius’, the
constellation not the astrology sign I assume, “There is more to darkness than
nightfall”, setting the tone for a journey through the realms, through the
soil, human memory and our environment.

‘Retrospect’, tells of a memory of a walk
in winter into Sèvres, a dream that comes from a simple expression on a
companion’s face when walking into the forest. ‘Tocatta’ addresses bric-a-brac
and the significance of seemingly insignificant objects on human memory, “and
even the domino I lost/in the long grass by the passion-vine”.

Throughout we have musical references and
themes, there is something grander going on here, if only I could decipher it!!
We have innumerable references to green (grass generally), the image of ‘breaths
from mouths’ and galaxies.

‘Footloose, a Senior Moment’ is composed as
fractured thoughts, spread throughout the page, replicating an ageing mind,
with another musical reference “diminuendo”, (getting gradually softer) a poem dedicated
to ‘Chris Wallace-Crabbe approaching eighty’.

Whistling in the Dark

Seeking a mind
in the machine, and in constellations, however
distant, a waft of breath. Re-reading space

shrapnel as
chromosome bee-swarms, hauling infinity
in so that its silence, a stately contre-dance to numbers,

and lost and
grieved over by inconsolable immortals
and set eternally adrift, a slow cascade

of luminary dust
above the earth, with the companionable
creatures, bear, lion, swan, who share with us the upland

fells and
meadow-flats of a rogue planet tossed
into space and by the wild haphazard or amazing

grace sent
spinning. Old consolations, only half
believed in, though like children we hold them dear, as if
their names

on our tongue
could bring them close and make,
like theirs, the bitter sweet-stuff of our story

to someone,
somewhere out there,
remembered, and fondly, when we are gone.

Our collection has a very environmental
edge, showing the hypocrisy of working all day in a garden to “troop home to
pork-chop plastic bags, and gatherers/gather for hugs and mugs of steaming
chai.” (from the poem ‘Inner City’), or “Small plots are watered in the
shadow/of blackened chimney-stacks by men in shirtsleeves between shift” (from ‘A
Green Miscellany’). Our feigning interest in environmental issues when we live
luxury lives in suburban homes, consume and destroy.

We also have an homage to the Australian
artist Jeffrey Smart (1921-2013) in ‘Art Laterina’, set in Tuscany where Smart
lived from 1963 until his death.

A collection that includes exquisite
imagery as in ‘Shy Gifts’, “…the book/laid open under the desk-lamp, pages
astream/with light like angels’ wings, arched for take off”. This is a small
book, running to eighty-six pages and fifty-nine poems, with references to
writing retreats and acknowledgement of the “Scottish Arts Council for the
Muriel Spark International Fellowship in 2008, and a month-long residence in
Edinburgh and at Stromness, Orkney”, it is not difficult to see the creativity
being assisted by Malouf’s surrounds.

Not my favourite from the Prime Minister’s
Literary Award Shortlist (Poetry) to date, that currently goes to Judith Beverdige’s “Devadatta’s Poems”, and with only the winning entry yet to be read, this has been an insightful
journey into the works of Australian poets, something I will be doing more of
during the year.